Appa Performs At Iit On April 17th
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manakkalsriram
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manakkalsriram
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rbharath
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unfortunately, I couldnt sit thro' the full concert. My apologies, to Sri Rangarajan and Sri Sriram for having to leave in the middle. It was indeed a very moving concert, till whatever i heard. I will wait for Rajesh to post his thoughts, before adding my views!ram wrote:News from well placed sources in IIT Madras tells me that our very own rajeshnat is working on the review and it might be out any time now
Quick Rushes:
ravichandrika, bilahari and mohanakalyani one after another. dvijAvanti for submain and kharaharapriyA main!
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rajeshnat
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manakkAl rangarAjan@IIT Madras on April 17th,2007
Accompanying the 85 year old vidwan was the 83 year old super senior violinist - MS AnantharAman and manakkAl sriram - mridangam. The concert was attended by bharath (who introduced the artists and the next years IIT music club committee) and I saw vidwan suryaprakash also walking in. My previous first live concert experience of the manakkAl Sr ,was in the last year carnatica bAsh where he tried to fit a O rangasAyee in a small questionable time capsule.
manOdharma sangeetham is what takes each of us to sustain the interest in CM . Towards that there are 2 chief inhibiting factors .
1. The vidwans/vidushis of today(95 % of the time) are more focussing on singing a submain (R N S), main(R N S T) and trying to fill some fillers here and there more towards pushing the hour arm of clock to meet the nearest 15 minute in the age old round clock that is hanging in sabhas. This is a typical formula music .
2. Also perhaps reviewers like me are screwing up bigtime the CM scene of today where we are more and more promoting this formula music , putting R N S etc, in turn abetting the musicians of today to stay partially in manOdharmam zone, possibly pushing the next generation to even not have awareness of how CM should be in terms of absolute manOdharmam.
Well that is where manakkAl Sr and MS AnantharAman comes in . When manakkal Sr touched the shruthi box his fingers were trembling , when MS AnantharAman keeps the bow down there is a long pause for him to take .But when there is action , there is always manOdharam without a formula music.
Usually manOdharmam can easily be spotted when you see less popular krithis from rAgas ,giving indications of where R N S are ,and the timelines for each krithi.I am putting the time lines at the end of every krithi to indicate what time they ended each of the krithi. The concert start was from 07:10 Pm to 09:35pm.
1A brief alApanai - ravi candrikaa??
1B.slOkham "sukhlAm bharatharam vishnUm" - ravi candrikaa???
1C.niravati sukada (N,S)- ravi candrikaa - T (Time was 7:29 pm)
nAdaswara bAni neraval sketch in "mAmava maragadha" with excellent creative swara patterns .
2.ini namakOru kavalayum illai - bilahari - kOteeswara Iyer (Time was 7:35pm)
3.shivam vrshabhaarUDham(R N S) - mOhana kalyaaNi - HMB (Time was 8:05pm)
The bilahari was quite good. The only disappointment(yAnaikkum adi sarakkum) was mOhanakalyAni alApanai , there was so much of bilaharish phrases in mOhanakalyAni (did you notice that bharath??). I was very happy to hear the lesser popular HMB krithi , the neraval line was fantastic "sAma vEdha priyam sangeetha sAram", Manakkal Sr used lot of interesting piDI patterns in both neraval and swaram in mohanakalyAni.
4. cheta sri bAlakrishnam (R,S) - dvijAvanti - MD (Time was 8:27pm)
5. anupama guNaambudhi - aThaaNaa - T (Time was 8:31 pm)
I heard in the previous concert at manakkAls house where SuryaprakAsh was making a passing comment on DvijAvanthi, where he said he has heard an 1 hour and 15 minutes .Well I was geared for that , but certainly manakkAl Sr brought all the essence in his 22 minute rendition. Very good swara patterns. The atAna as a filler was definitely a daring go that too considering his age.
6A . saraswati annayE enneramUm saram aDaindhEn unnaiyE (R,S) - kharaharapriya - papanAsam sivan - (Time was 8:46 pm)
6B. tani (Time was 9:01 pm)
The kharaharapriya alApana was quite good , the bigger surprise was this krithi that I have never heard. He came with a quick round of swara patterns and manakkAl jr took a tani that was good from there.
7. kArthikai bAlanai(R) - mAnd - manakkAl varadarAjan
8A. slOkham "krishna rekshAtumAm" - yamunakalyAni?(senchurutti ?) - ???
8B. giridhara gOpalA hare krishna - yamunakalyAni - manakkAl varadarAjan
(Time was 9:15 pm)
manakkAl sr's elder brother varadarAjan's composition was taken after a beautiful mAnd alApanai .The krithi was superb very expressive and open throated more like maharajapuram santhanam's popular mAnd "aduginrAn kannan pAduginrAn". Slokham was very good though i thought it was senchuruTTi, he followed with a yamunakalyANi krithi of his brother which was very emotive. (By any chance is senchuruTTi and yamunakalyAni close or do I need to go to an ENT doctor?)
9. AyyE metha kadinAm -punnagavarAli + kAmbOdhi- GKB
10. Kaatru veLiyiDaik kannammaa (R)- kApi - bharathi
11. tillAna - poornachandrikA - Poochi
12. shri rAmachandranakkU - madhyamAvati - ArunAchala kavi
(Time was 09:35pm)
The double bharathi combo was superb, especially I loved his fairly detailed alApanai of KApi which was a seedling for me to bring this manOdharmam -formula interlude .Loved his rendition of kAtru veLiyiDaik kannammA. Age was not a barrier for him to close with gusto the racy tillAna and a rarer mangalam .
MS AnantharAman had the shruti suddham and the nAdham .The parur glides was more felt in mOhanakalyAni. manakkAl jr played a good tani ,was ok to good in krithis . One notable mention was there were one incident where at the end of swarams in ravichandrika , manakkAl jr was slipping a lot in layam, I could see manakkAl sr was not that happy, so that means there was no father- son protection that was happening there. manakkAl Sr was damn serious with his music and his team's performance.
Accompanying the 85 year old vidwan was the 83 year old super senior violinist - MS AnantharAman and manakkAl sriram - mridangam. The concert was attended by bharath (who introduced the artists and the next years IIT music club committee) and I saw vidwan suryaprakash also walking in. My previous first live concert experience of the manakkAl Sr ,was in the last year carnatica bAsh where he tried to fit a O rangasAyee in a small questionable time capsule.
manOdharma sangeetham is what takes each of us to sustain the interest in CM . Towards that there are 2 chief inhibiting factors .
1. The vidwans/vidushis of today(95 % of the time) are more focussing on singing a submain (R N S), main(R N S T) and trying to fill some fillers here and there more towards pushing the hour arm of clock to meet the nearest 15 minute in the age old round clock that is hanging in sabhas. This is a typical formula music .
2. Also perhaps reviewers like me are screwing up bigtime the CM scene of today where we are more and more promoting this formula music , putting R N S etc, in turn abetting the musicians of today to stay partially in manOdharmam zone, possibly pushing the next generation to even not have awareness of how CM should be in terms of absolute manOdharmam.
Well that is where manakkAl Sr and MS AnantharAman comes in . When manakkal Sr touched the shruthi box his fingers were trembling , when MS AnantharAman keeps the bow down there is a long pause for him to take .But when there is action , there is always manOdharam without a formula music.
Usually manOdharmam can easily be spotted when you see less popular krithis from rAgas ,giving indications of where R N S are ,and the timelines for each krithi.I am putting the time lines at the end of every krithi to indicate what time they ended each of the krithi. The concert start was from 07:10 Pm to 09:35pm.
1A brief alApanai - ravi candrikaa??
1B.slOkham "sukhlAm bharatharam vishnUm" - ravi candrikaa???
1C.niravati sukada (N,S)- ravi candrikaa - T (Time was 7:29 pm)
nAdaswara bAni neraval sketch in "mAmava maragadha" with excellent creative swara patterns .
2.ini namakOru kavalayum illai - bilahari - kOteeswara Iyer (Time was 7:35pm)
3.shivam vrshabhaarUDham(R N S) - mOhana kalyaaNi - HMB (Time was 8:05pm)
The bilahari was quite good. The only disappointment(yAnaikkum adi sarakkum) was mOhanakalyAni alApanai , there was so much of bilaharish phrases in mOhanakalyAni (did you notice that bharath??). I was very happy to hear the lesser popular HMB krithi , the neraval line was fantastic "sAma vEdha priyam sangeetha sAram", Manakkal Sr used lot of interesting piDI patterns in both neraval and swaram in mohanakalyAni.
4. cheta sri bAlakrishnam (R,S) - dvijAvanti - MD (Time was 8:27pm)
5. anupama guNaambudhi - aThaaNaa - T (Time was 8:31 pm)
I heard in the previous concert at manakkAls house where SuryaprakAsh was making a passing comment on DvijAvanthi, where he said he has heard an 1 hour and 15 minutes .Well I was geared for that , but certainly manakkAl Sr brought all the essence in his 22 minute rendition. Very good swara patterns. The atAna as a filler was definitely a daring go that too considering his age.
6A . saraswati annayE enneramUm saram aDaindhEn unnaiyE (R,S) - kharaharapriya - papanAsam sivan - (Time was 8:46 pm)
6B. tani (Time was 9:01 pm)
The kharaharapriya alApana was quite good , the bigger surprise was this krithi that I have never heard. He came with a quick round of swara patterns and manakkAl jr took a tani that was good from there.
7. kArthikai bAlanai(R) - mAnd - manakkAl varadarAjan
8A. slOkham "krishna rekshAtumAm" - yamunakalyAni?(senchurutti ?) - ???
8B. giridhara gOpalA hare krishna - yamunakalyAni - manakkAl varadarAjan
(Time was 9:15 pm)
manakkAl sr's elder brother varadarAjan's composition was taken after a beautiful mAnd alApanai .The krithi was superb very expressive and open throated more like maharajapuram santhanam's popular mAnd "aduginrAn kannan pAduginrAn". Slokham was very good though i thought it was senchuruTTi, he followed with a yamunakalyANi krithi of his brother which was very emotive. (By any chance is senchuruTTi and yamunakalyAni close or do I need to go to an ENT doctor?)
9. AyyE metha kadinAm -punnagavarAli + kAmbOdhi- GKB
10. Kaatru veLiyiDaik kannammaa (R)- kApi - bharathi
11. tillAna - poornachandrikA - Poochi
12. shri rAmachandranakkU - madhyamAvati - ArunAchala kavi
(Time was 09:35pm)
The double bharathi combo was superb, especially I loved his fairly detailed alApanai of KApi which was a seedling for me to bring this manOdharmam -formula interlude .Loved his rendition of kAtru veLiyiDaik kannammA. Age was not a barrier for him to close with gusto the racy tillAna and a rarer mangalam .
MS AnantharAman had the shruti suddham and the nAdham .The parur glides was more felt in mOhanakalyAni. manakkAl jr played a good tani ,was ok to good in krithis . One notable mention was there were one incident where at the end of swarams in ravichandrika , manakkAl jr was slipping a lot in layam, I could see manakkAl sr was not that happy, so that means there was no father- son protection that was happening there. manakkAl Sr was damn serious with his music and his team's performance.
Last edited by rajeshnat on 18 Apr 2007, 22:24, edited 1 time in total.
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coimbatorerasigan
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mahakavi
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rajeshnat
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mahakavi
Made the veLiyiDaik correction , all these years I have been only thinking as veliyinil. Tx. What comes to carnatic concert of mahAkavi bharathi's composition to what gets left out is a big gap. I have never heard this no other than in tamil cinema.
All,
Forgot to mention in my previous post. Mrs Prema rangarAjan (Mrs manakkAl rangarAjan) provided a fairly ok to good vocal support .
Made the veLiyiDaik correction , all these years I have been only thinking as veliyinil. Tx. What comes to carnatic concert of mahAkavi bharathi's composition to what gets left out is a big gap. I have never heard this no other than in tamil cinema.
All,
Forgot to mention in my previous post. Mrs Prema rangarAjan (Mrs manakkAl rangarAjan) provided a fairly ok to good vocal support .
Last edited by rajeshnat on 18 Apr 2007, 22:26, edited 1 time in total.
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arasi
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Rajesh,
Your own brand of review revs us all up. This time, tells us the time too:)
To listen to the veteran must have been something. Added to it, Anantharaman's 'padamAna' accompaniment as well.
And I missed kATRu (kARRu) veLiyiDai. I did not get the reference to the double treat. Where is it in the list?
Your own brand of review revs us all up. This time, tells us the time too:)
To listen to the veteran must have been something. Added to it, Anantharaman's 'padamAna' accompaniment as well.
And I missed kATRu (kARRu) veLiyiDai. I did not get the reference to the double treat. Where is it in the list?
Last edited by arasi on 18 Apr 2007, 22:51, edited 1 time in total.
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cmlover
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Good work Rajesh!
I have to hear to believe that MR slipped in MohanaKalyani into Bilahari. He is an iron-clad elephant who neve slips:)
I am sure the IIT guys must have recorded the concert and may like to share it with us! Then we can discuss stroke by stroke
By the by IIRC it was sung as 'kARRu veLiyinil kaNNamma..' by (?PB Srinivas) in the movie KappalOTTiya Thamizhan!
I have to hear to believe that MR slipped in MohanaKalyani into Bilahari. He is an iron-clad elephant who neve slips:)
I am sure the IIT guys must have recorded the concert and may like to share it with us! Then we can discuss stroke by stroke
By the by IIRC it was sung as 'kARRu veLiyinil kaNNamma..' by (?PB Srinivas) in the movie KappalOTTiya Thamizhan!
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rshankar
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CML,
Your memory is slipping! PBS/Susheela sang it as kARRu veLiyiDai....
See song #2 here:
http://www.musicindiaonline.com/music/t ... name.4601/
Your memory is slipping! PBS/Susheela sang it as kARRu veLiyiDai....
See song #2 here:
http://www.musicindiaonline.com/music/t ... name.4601/
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mahakavi
cmlover:
While the meaning is substantially similar with both words, the authentic word used by Bharathi was "veLiyiDai". When singers take the liberty to modify either deliberately or inadvertently it is not an offense, per se, if the meaning is not altered. But still one would like to see fidelity with the actual text when the text is clear and uncorrupted.
While the meaning is substantially similar with both words, the authentic word used by Bharathi was "veLiyiDai". When singers take the liberty to modify either deliberately or inadvertently it is not an offense, per se, if the meaning is not altered. But still one would like to see fidelity with the actual text when the text is clear and uncorrupted.
Last edited by mahakavi on 19 Apr 2007, 07:02, edited 1 time in total.
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arasi
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Thanks Ravi. Considering it is about 'kappalOTTiya thamizhan' (the one who sailed a ship in the face of british authority) Chidambarm PiLLai, no wonder, almost all the songs are bArathi's. Interesting how kATRu veLiyiDAi was turned into a duet. bAratha dEsam enRu peyar SolluvAr's two starting lines are omitted as the song starts with the third line: veLLip pani malaiyin mIdulavuvOM, and no mention of bArathi there...
Last edited by arasi on 19 Apr 2007, 08:16, edited 1 time in total.
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rbharath
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To add to what Rajesh has posted, I found it really interesting to hear ravichandrikA, bilahari and mOhanakalyANi back-to-back.
The ravicandrikA short sketch and the slOkam were good. The kriti was rendered with the usual vigour and round of svarams with nice patterns. The short sketch of bilhari was nice and the kriti, was nicely rendered. The mOhanakalyANi AlApanai was good. Contrary to what rajesh says, i could not find it slipping into any thing else. I have heard him sing the same piece at carnatic last year. He rendered it very well, with an elaborate round of neraval and svarams.
The dvijAvanti AlApanai was very outstanding. I was expecting him to take up, the quicker, akhilANDEsvarIm. However, his cEta srI was amazing. The svarams which followed were really good as well.
I had to leave as he began the kharaharapriyA.
The concert was recorded and the copy should be with the Manakkal Family.
The ravicandrikA short sketch and the slOkam were good. The kriti was rendered with the usual vigour and round of svarams with nice patterns. The short sketch of bilhari was nice and the kriti, was nicely rendered. The mOhanakalyANi AlApanai was good. Contrary to what rajesh says, i could not find it slipping into any thing else. I have heard him sing the same piece at carnatic last year. He rendered it very well, with an elaborate round of neraval and svarams.
The dvijAvanti AlApanai was very outstanding. I was expecting him to take up, the quicker, akhilANDEsvarIm. However, his cEta srI was amazing. The svarams which followed were really good as well.
I had to leave as he began the kharaharapriyA.
The concert was recorded and the copy should be with the Manakkal Family.
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rbharath
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Sri Rangarajan was in full form and made it a very good and memorable evening for me. Sri Ananatharaman, was very good in accompanying. The old veteran was to the point in all his replies. Both of them were very innovative and creative, and yet well within the sampradaya suddham.
Both Sri Rangarajan and Sri Anantharaman, were showing the musical capablities and the power of the practice (sAdakam) which has gone down in their 70+ years of concert experience. Age or Health Problems might have reduced their energy or reflux timings or anything else. However, the music is still very melodious and free flowing.
Smt Padma Rangarajan provided good vocal support. The tara - mandara sthAyI combinations of Smt & Sri Rangarajan need to be mentioned. Sri Sriram on the mrudangam was good in accompanying the kritis. I couldnt stay for his tani.
Both Sri Rangarajan and Sri Anantharaman, were showing the musical capablities and the power of the practice (sAdakam) which has gone down in their 70+ years of concert experience. Age or Health Problems might have reduced their energy or reflux timings or anything else. However, the music is still very melodious and free flowing.
Smt Padma Rangarajan provided good vocal support. The tara - mandara sthAyI combinations of Smt & Sri Rangarajan need to be mentioned. Sri Sriram on the mrudangam was good in accompanying the kritis. I couldnt stay for his tani.
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rbharath
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rajesh, for all you know, Sri Rangarajan might have sung the slOkam in senjuruTTi and followed it up with an yamunakalyANi piece. Some of the old vidvans, treat a slOkam and a piece as two different entities and need not necessarily follow a slOkam with a kriti in the ending rAgam praising the same deity and all that. However, i'll try to see if i can ask somebody else who were present at the concert and get more details.
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rajeshnat
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Bharath,rbharath wrote:rajesh, for all you know, Sri Rangarajan might have sung the slOkam in senjuruTTi and followed it up with an yamunakalyANi piece. Some of the old vidvans, treat a slOkam and a piece as two different entities and need not necessarily follow a slOkam with a kriti in the ending rAgam praising the same deity and all that. However, i'll try to see if i can ask somebody else who were present at the concert and get more details.
I asked manakkAl's about the slOkham, they said it was yamunakalyAni. I certainly heard it as senchuruTTish too. Incidentally for the same reason of slOkham and krithi not having the same rAgam ,I have marked 1A and 1B as ravi candrika with a ?
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rbharath
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i dint hear this part of the concert. will ask somebody else and get back!rajeshnat wrote:I asked manakkAl's about the slOkham, they said it was yamunakalyAni. I certainly heard it as senchuruTTish too.
they were in ravicandrikA only. u can safely remove the ?rajeshnat wrote:Incidentally for the same reason of slOkham and krithi not having the same rAgam ,I have marked 1A and 1B as ravi candrika with a ?
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manakkalsriram
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Good Evening!
A wonderful review of the concert. It marks your interest and knowledgeable listening at your end.
But, want to clarify something. When you were talking to me, at the end of the concert, I did not say this to you, because I did not want to let appa down. But on reading this, I feel its a better idea, to discuss it with you. That slip in layam you were talking about, I would like to explain that one. The place you are referring to is The korvai for the place 'Mamava Maragatha' in the song, Niravathi sugatha (mukkal edam). The korvai though it is mukkal idam begins in a different place(5 edam thalli from samam in the Veechu) . The korvai is 3 times kandam (thathikitathom) 3 times Thisram(thatheenkitathom) 3 times Mishram, 3 times sangeernam 3times thakitathom thathikitathom(10). Appa sang till mishram perfectly but during sangeernam Appa sings it correctly but speeds up the thala.(thathi thathikitathom) 'tha' begins at 21/2 edam thalli from samam but 'thi' instead of getting into 3 edam thalli from samam goes to 31/4 due to the jump in the thala. If you listen to the recording you can see that the beat of the thala is different. Thakitathom thathikitathom 1(1/4) edam begins at 1(1/2) edam. So, instead of mukkal edam it would finish in the sunduviral. To save it,what I did was, during the third time of Thakitathomthathikitathom I just played takitathomthathikita(without thom) and played the neraval line Mamava in exactly Mukkal idam, wishing Appa also to do that. But to my surprise appa did not stop there. He started continuing the korvai from the sunduviral . The korvai should have been for only one round and not for three rounds. And that too appa started the korvai for a non existing second round at the Sunduviral. From there onwards it was a matter of adjustment. I am appa's dearmost son, not another mridangist. I cannot be a spectator watching this. I also started playing with him to cover it up.
Two points I am mentioning here, is first of all the korvai should have been for only one round . The second round the korvai was started in the sunduviral, in spite of the fact that even if taken in the exact mukkal idam ,it would not have ended in the right place.The mridangist should be selfless and should save the performance. Otherwise I would have been silently watching. Appa is still singing with strength, miraculously with God's grace and appa is a king in laya. But at this age
when he tends to sing big korvais, lapses do happen. It is natural. It is brave of him to have taken such an intricate korvai at this age. That is Appa. He could have easily taken a simple korvai like garisa,risani,sanida. garisanida,risanidapa and sanidapama. He did not do that. But unfortunately, it went wrong at that moment as he lost control of the thala in the middle. I don't mind if you had mentioned that I was not up to the mark or that you were not impressed . Because tastes differ. But ,being a disciple of Palghat Mani Iyer, I can never slip in Laya. Appa was infact, pleased with my Mridangam as usual and he commented in the car that it was extraordinary. For a Mridangist, the phrase 'Slipping in Laya' is like committing a crime. So I am forced to clarify the statement. You have the full liberty to express your views but I thought it would be better if I clarify this point. But
what is to be truly appreciated, is your enthusiasm in reviewing the concert.
A wonderful review of the concert. It marks your interest and knowledgeable listening at your end.
But, want to clarify something. When you were talking to me, at the end of the concert, I did not say this to you, because I did not want to let appa down. But on reading this, I feel its a better idea, to discuss it with you. That slip in layam you were talking about, I would like to explain that one. The place you are referring to is The korvai for the place 'Mamava Maragatha' in the song, Niravathi sugatha (mukkal edam). The korvai though it is mukkal idam begins in a different place(5 edam thalli from samam in the Veechu) . The korvai is 3 times kandam (thathikitathom) 3 times Thisram(thatheenkitathom) 3 times Mishram, 3 times sangeernam 3times thakitathom thathikitathom(10). Appa sang till mishram perfectly but during sangeernam Appa sings it correctly but speeds up the thala.(thathi thathikitathom) 'tha' begins at 21/2 edam thalli from samam but 'thi' instead of getting into 3 edam thalli from samam goes to 31/4 due to the jump in the thala. If you listen to the recording you can see that the beat of the thala is different. Thakitathom thathikitathom 1(1/4) edam begins at 1(1/2) edam. So, instead of mukkal edam it would finish in the sunduviral. To save it,what I did was, during the third time of Thakitathomthathikitathom I just played takitathomthathikita(without thom) and played the neraval line Mamava in exactly Mukkal idam, wishing Appa also to do that. But to my surprise appa did not stop there. He started continuing the korvai from the sunduviral . The korvai should have been for only one round and not for three rounds. And that too appa started the korvai for a non existing second round at the Sunduviral. From there onwards it was a matter of adjustment. I am appa's dearmost son, not another mridangist. I cannot be a spectator watching this. I also started playing with him to cover it up.
Two points I am mentioning here, is first of all the korvai should have been for only one round . The second round the korvai was started in the sunduviral, in spite of the fact that even if taken in the exact mukkal idam ,it would not have ended in the right place.The mridangist should be selfless and should save the performance. Otherwise I would have been silently watching. Appa is still singing with strength, miraculously with God's grace and appa is a king in laya. But at this age
when he tends to sing big korvais, lapses do happen. It is natural. It is brave of him to have taken such an intricate korvai at this age. That is Appa. He could have easily taken a simple korvai like garisa,risani,sanida. garisanida,risanidapa and sanidapama. He did not do that. But unfortunately, it went wrong at that moment as he lost control of the thala in the middle. I don't mind if you had mentioned that I was not up to the mark or that you were not impressed . Because tastes differ. But ,being a disciple of Palghat Mani Iyer, I can never slip in Laya. Appa was infact, pleased with my Mridangam as usual and he commented in the car that it was extraordinary. For a Mridangist, the phrase 'Slipping in Laya' is like committing a crime. So I am forced to clarify the statement. You have the full liberty to express your views but I thought it would be better if I clarify this point. But
what is to be truly appreciated, is your enthusiasm in reviewing the concert.
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cmlover
- Posts: 11498
- Joined: 02 Feb 2010, 22:36
Thanks Shankar for the correction!
That PBS rendering has a magical effect in the movie as well as outside. I was told that was in Ahiri which i could never reconcile and now I am eaer to hear Manakkal's rencering in Kapi if possible.
With MaNakkal and MSA teaming together it must have been indeed formidable and if they are in form it is very good good news for CM. As an oldtimer we had always marked the maestro for a SK even as early as the forties but he faded away for health reasons. His return now reminds me of the episodes of the 'Return of Sherlock Holmes'. Let us get hold of him and not slip this time!
That PBS rendering has a magical effect in the movie as well as outside. I was told that was in Ahiri which i could never reconcile and now I am eaer to hear Manakkal's rencering in Kapi if possible.
With MaNakkal and MSA teaming together it must have been indeed formidable and if they are in form it is very good good news for CM. As an oldtimer we had always marked the maestro for a SK even as early as the forties but he faded away for health reasons. His return now reminds me of the episodes of the 'Return of Sherlock Holmes'. Let us get hold of him and not slip this time!
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arasi
- Posts: 16789
- Joined: 22 Jun 2006, 09:30
CML,
Whenever I have had the chance of listening to MSA in the past few years, I have been moved by the 'padamAna' (got an appropriate word in english for it?) I can't think of any other word while describing his playing. It is mature, mellifluous, meted out in a low key manner (a reflection of his personality). Going back, since I was a teeny weeny person while I listened to his father, I don't recollect his playing that much. What a teacher he was, though! MSA and MSG, the sons he shaped into such stalwarts! I haven't heard MAS's other son Krishnaswamy (?). Have heard Sundaresan many a time and I think the guru paramparA continues. Anantharaman is just as good as his father in training and guiding his offsprings. I have listened to Sundaresan play for various vocalists. He plays admirably, no matter whom he accompanies. Once I met his son too, and was told that he plays the violin as well. Encouraging news when it comes to continuance of art in a family...
Whenever I have had the chance of listening to MSA in the past few years, I have been moved by the 'padamAna' (got an appropriate word in english for it?) I can't think of any other word while describing his playing. It is mature, mellifluous, meted out in a low key manner (a reflection of his personality). Going back, since I was a teeny weeny person while I listened to his father, I don't recollect his playing that much. What a teacher he was, though! MSA and MSG, the sons he shaped into such stalwarts! I haven't heard MAS's other son Krishnaswamy (?). Have heard Sundaresan many a time and I think the guru paramparA continues. Anantharaman is just as good as his father in training and guiding his offsprings. I have listened to Sundaresan play for various vocalists. He plays admirably, no matter whom he accompanies. Once I met his son too, and was told that he plays the violin as well. Encouraging news when it comes to continuance of art in a family...
Last edited by arasi on 19 Apr 2007, 22:06, edited 1 time in total.
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rajeshnat
- Posts: 9928
- Joined: 03 Feb 2010, 08:04
manakkAl Sriram,
We have both agreed that there was a lapse in tAlam (layam)in niravati sukada.I really appreciate you coming forward and posting.I can only think of only 2 choices.
1. In my opinion, you have come out more convicing(but not 100%) then what I wrote in my first post in this thread . It brings a very crucial point for rasikas who are more like me. Many a times we dont notice the slip by vocalists , sometimes inadvertantly wrongly blame the Mridangist. Mridangist are like elemantary school teachers, they are sometimes more easily blamed.
2. Possibly there was still a layam lapse by you(a minor chance) , though I appereciate your confidence .May be if the recording is heard , few folks like (vk,sbala,arunk,akellagAru) may come to my defense if they only indeed see a point.
All,
I called manakkAl sriram , he said that he has the tape , but he needs to get it converted to digital mp3. So conclusively three asserts that I have made in this concert , 1. bilaharish mOhanakalyAni(quite surprised that bharath did not get it) 2.senchuriTTish yamunakalyAni 3.cause of layam lapse(mridangist or vocalist)
Once again thanking manakkAl Sriram for this wonderful line "The mridangist should be selfless and should save the performance" .
We have both agreed that there was a lapse in tAlam (layam)in niravati sukada.I really appreciate you coming forward and posting.I can only think of only 2 choices.
1. In my opinion, you have come out more convicing(but not 100%) then what I wrote in my first post in this thread . It brings a very crucial point for rasikas who are more like me. Many a times we dont notice the slip by vocalists , sometimes inadvertantly wrongly blame the Mridangist. Mridangist are like elemantary school teachers, they are sometimes more easily blamed.
2. Possibly there was still a layam lapse by you(a minor chance) , though I appereciate your confidence .May be if the recording is heard , few folks like (vk,sbala,arunk,akellagAru) may come to my defense if they only indeed see a point.
All,
I called manakkAl sriram , he said that he has the tape , but he needs to get it converted to digital mp3. So conclusively three asserts that I have made in this concert , 1. bilaharish mOhanakalyAni(quite surprised that bharath did not get it) 2.senchuriTTish yamunakalyAni 3.cause of layam lapse(mridangist or vocalist)
Once again thanking manakkAl Sriram for this wonderful line "The mridangist should be selfless and should save the performance" .
Last edited by rajeshnat on 19 Apr 2007, 22:56, edited 1 time in total.
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coimbatorerasigan
- Posts: 30
- Joined: 25 Feb 2007, 23:29
Rajeshnat, Appreciate your reviews. Manakkaal Sriram's indulgence of your views is so refreshing to see....wish more artists including those who have "vottam" as the hallmark of their music come forward and openly discuss to see how this can be addressed...Manakkaal Rangarajan and his son, Manakaal Sriram, the great PMI's shishya are perhaps the last people you should be subjecting to layam quizzes !
Its a bit like police increasing vigiliance for traffic violations, when murders are on the rise!
!Its a bit like police increasing vigiliance for traffic violations, when murders are on the rise
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arunk
- Posts: 3424
- Joined: 07 Feb 2010, 21:41
I know i will probably be in the extreme minority on this but ...
Laying out someone else lapses out in the open, and expecting/wishing them (and others like them) to take in the right spirit etc. - does not seem right at all to me. I have heard all the counter arguments (it goes with the profession they have chosen, this is one way we ensure standards are maintained etc.) - i dont buy any of that and thus i still feel this way. But all that may be a topic for another day.
Arun
Laying out someone else lapses out in the open, and expecting/wishing them (and others like them) to take in the right spirit etc. - does not seem right at all to me. I have heard all the counter arguments (it goes with the profession they have chosen, this is one way we ensure standards are maintained etc.) - i dont buy any of that and thus i still feel this way
. But all that may be a topic for another day.Arun
Last edited by arunk on 19 Apr 2007, 23:19, edited 1 time in total.
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vasanthakokilam
- Posts: 10956
- Joined: 03 Feb 2010, 00:01
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ram
- Posts: 705
- Joined: 02 Feb 2010, 22:48
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vijay
- Posts: 2522
- Joined: 27 Feb 2006, 16:06
CM is a highly intricate art, that too rendered at the spur of the moment. The greatest of giants slip up sometimes - that is what the challenge is all about. Even a giant like TNS is not beyond the occasional lapse (as he himself pointed out during one of his lec-dems - I did not even know a mistake had happened!).
That is not to say that mistakes, when they happen, should not be pointed out. The astute rasika that he is, Rajesh has done his duty by pointing out some possible errors, while acknowledging the quality of the concert. Sriram, for his part, has shown extraordinary grace in taking the trouble to explain the whole thing.
Let us enjoy the concert for what it was and acknowledge the dynamism of an art that is larger than the sum of all its proponents and one that can never be taken for granted.
BTW, Sriram's post illuminates just how complex the interaction between the artists on stage can get. This is why I will never tire of CM - no other form of music can boast of so much spontaneity! I just wish I could understand more of what's happening on stage - Kulkarniji how about those LDs that we had talked about? Maybe we could get Sriram or Balaji to explain the dynamics of rhythm accompaniment for a start?
That is not to say that mistakes, when they happen, should not be pointed out. The astute rasika that he is, Rajesh has done his duty by pointing out some possible errors, while acknowledging the quality of the concert. Sriram, for his part, has shown extraordinary grace in taking the trouble to explain the whole thing.
Let us enjoy the concert for what it was and acknowledge the dynamism of an art that is larger than the sum of all its proponents and one that can never be taken for granted.
BTW, Sriram's post illuminates just how complex the interaction between the artists on stage can get. This is why I will never tire of CM - no other form of music can boast of so much spontaneity! I just wish I could understand more of what's happening on stage - Kulkarniji how about those LDs that we had talked about? Maybe we could get Sriram or Balaji to explain the dynamics of rhythm accompaniment for a start?
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coolkarni
Vijay
The concerts we have had , till now were just warming up exercises.
I am writing a detailed note to all the contributors through email-that should reach you all by Sunday.
The part that I can disclose on the forum here is this :
Insteed of monthly concerts , we may settle down to quarterly bashes , strung around a theme.
The fact that I am working on the next project based on laya appreciation shows that we are all thinking alike.
I am just waiting to touch base with Balaji so that we have a mini laya festival with participation by Erode Nagarajan , Balaji ,Sriram.After we arrive at some kind of a program , we can approach Akella Sarma Saab for dates So that we can invite him to educate us on the higher end of the spectrum.Since this is highly rasika oriented, we may take some time to figure out the whole process.
I would love more participation from rasika members (who can mail me at chennairasika@gmail.com) not necessarily for financial inputs (though that is a matter for a slight concern at this stage-inspite of the best efforts of yourself, rajesh, Govindan,Vaidyanathan, Ram,rajumds, Mantra and other names that I may have missed here.)
In the final analysis if it is going to be a spectacle for only the few of us here in Chennai and the 20 odd overseas members who download links , then we will have no option but to stick to such thematic get-togethers - maybe 4 or 5 times in year - spread over 2 or 3 days.
So Members , please do pitch in with your ideas and you can rest assured we can work out some intertesting programs.
One more that I am thinking of is a session built around the concerts performed by rasika members. Or may be a get-together in Bangalore - if there are enough enthusiasts there.
Hope this answers your question, Vijay.
The concerts we have had , till now were just warming up exercises.
I am writing a detailed note to all the contributors through email-that should reach you all by Sunday.
The part that I can disclose on the forum here is this :
Insteed of monthly concerts , we may settle down to quarterly bashes , strung around a theme.
The fact that I am working on the next project based on laya appreciation shows that we are all thinking alike.
I am just waiting to touch base with Balaji so that we have a mini laya festival with participation by Erode Nagarajan , Balaji ,Sriram.After we arrive at some kind of a program , we can approach Akella Sarma Saab for dates So that we can invite him to educate us on the higher end of the spectrum.Since this is highly rasika oriented, we may take some time to figure out the whole process.
I would love more participation from rasika members (who can mail me at chennairasika@gmail.com) not necessarily for financial inputs (though that is a matter for a slight concern at this stage-inspite of the best efforts of yourself, rajesh, Govindan,Vaidyanathan, Ram,rajumds, Mantra and other names that I may have missed here.)
In the final analysis if it is going to be a spectacle for only the few of us here in Chennai and the 20 odd overseas members who download links , then we will have no option but to stick to such thematic get-togethers - maybe 4 or 5 times in year - spread over 2 or 3 days.
So Members , please do pitch in with your ideas and you can rest assured we can work out some intertesting programs.
One more that I am thinking of is a session built around the concerts performed by rasika members. Or may be a get-together in Bangalore - if there are enough enthusiasts there.
Hope this answers your question, Vijay.
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mantra
- Posts: 89
- Joined: 27 Nov 2005, 07:17
All,
There is a lot of enthusiasm with the concerts as they are excellent. In the long run, we will to be clear on the direction we want to take with this.
We probably need to make it every other month and see how it works out.... The number of members who will be available to attend these concerts on a regular basis is going to be a key factor...
1. Since we have atleast one or two performers who attend our concerts and a technically strong rasika base, we might also think along the lines of giving opportunities for youngsters and giving them some constructive feedback.... just a thought
2. Organize maybe Hindustani, Jugalbandhi, laya sessions, RTP sessions, Specific Raaga sessions, greatness of different banis etc -- again along the lines of Coolji..
3. Outstation artistes, not commonly heard vidwans, theory sessions
There is a lot of enthusiasm with the concerts as they are excellent. In the long run, we will to be clear on the direction we want to take with this.
We probably need to make it every other month and see how it works out.... The number of members who will be available to attend these concerts on a regular basis is going to be a key factor...
1. Since we have atleast one or two performers who attend our concerts and a technically strong rasika base, we might also think along the lines of giving opportunities for youngsters and giving them some constructive feedback.... just a thought
2. Organize maybe Hindustani, Jugalbandhi, laya sessions, RTP sessions, Specific Raaga sessions, greatness of different banis etc -- again along the lines of Coolji..
3. Outstation artistes, not commonly heard vidwans, theory sessions
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ninjathegreat
- Posts: 301
- Joined: 25 Oct 2005, 22:07
Hi all,
I would like to hear the recording of this concert for the only reason that I wasn't there to hear it!! All this discussion is whipping up a frenzy in my mind!!!
Coolji,
We could have a contribution thread, explaining to people the financial thingys and how contributions can be made...
cheers
Ninja
I would like to hear the recording of this concert for the only reason that I wasn't there to hear it!! All this discussion is whipping up a frenzy in my mind!!!
Coolji,
We could have a contribution thread, explaining to people the financial thingys and how contributions can be made...
cheers
Ninja
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ninjathegreat
- Posts: 301
- Joined: 25 Oct 2005, 22:07
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rshankar
- Posts: 13754
- Joined: 02 Feb 2010, 22:26
The HINDU's review:
http://www.hindu.com/fr/2007/04/20/stor ... 690500.htm
http://www.hindu.com/fr/2007/04/20/stor ... 690500.htm
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gn.sn42
- Posts: 396
- Joined: 02 Feb 2010, 23:56
I second ninjathegreat. While I know I should just get in touch with coolkarni and mail a cheque, it would be awfully convenient to send small amounts using Paypal or something similar...ninjathegreat wrote:We could have a contribution thread, explaining to people the financial thingys and how contributions can be made...
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rbharath
- Posts: 2326
- Joined: 05 Feb 2010, 10:50
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cmlover
- Posts: 11498
- Joined: 02 Feb 2010, 22:36
There have been some harsh criticisms of Rajesh valiantly expressing and defending the 'critic's ' rights. Reminds me of the days of Subbudu! For a healthy CM, honest criticisms and debates are essential. It is equally nice if artistes however great heed to criticisms and respond! Both have happened here and kudos to both! I do hope some of the sentiments expressed by the Rasikas will not turn off Rajesh from writing frank and fair his views even if they turn out to be wrong! In the garb of etiquette let us not muzzle honest chaste opinions and reviews as long as there are no 'ad hominem' !
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coolkarni